Nicolas Karakatsanis: DISGRACERS

Solo exhibition, until 6th of May, at Alice Gallery, Brussels.

His photographs draw us into an unreal fairy-tale world and make us forget about time and space. Brussels photographer and Director of Photography Nicolas Karakatsanis, shows new, picturesque work in Alice Gallery.

Inspiration for Nicolas Karakatsanis’ Disgracers comes from a series of paintings depicting falling figures, made in the late 16th and early 17th century by German-born Dutch artist Hendrick Goltzius. The Brussels photographer and cinematographer, who credits include the Oscar-nominated I, Tonya and Rundskop (Bullhead), became mesmerised by Goltzius’ work a long time ago, when he saw an exhibition of his work at The Met in New York.

The title of his Disgracers series and the images of falling people seem to betray a certain narrative – is there something Karakatsanis wants to tell us? ‘The series might suggest a certain red thread, but I didn’t intentionally insert a narrative. You know, as a cameraman making movies, I am surrounded by stories every day, so I’d rather my images speak for themselves. The visual can be beautiful and emotional in itself. When I visit an exhibition I look for beauty in the first place. And that’s what I hope to share through my own work too: an experience of beauty. The images are open to interpretation – even though they’re emotional, and made with a lot of gut feeling.’

Through a certain photographic approach, specific lighting, and a dedicated printing technique, emotion and beauty are passed on. ‘I like to play with paper types and lighting. Thus the photo will not be a flat thing but rather a 3D experience.’ Karakatsanis’ sophisticated techniques also ensure that his photographs look like paintings. It comes as no surprise that for years he has been collaborating on films with Belgian painter Michaël Borremans. The two became friends, and their enthusiastic relationship of mutual influence reveals the obvious love they have for each other’s medium. ‘The way Michaël plays with depth and sharpness in his work is rare for a painter, and is clearly inspired by photography. Just like I am very inspired by painting. Our mutual inspiration happens in a very organic way.’

Karakatsanis is also a fan Manet’s work: ‘Especially of his portraits. Manet painted a whole series of people in a studio environment, with sober lighting and a brownish background. It’s fascinating how he takes those people out of the context. This gives these portraits a universal value, which appeals to me. In photography you usually see a very concrete world unfurling, and that context means you have to make an effort to identify yourself with it. It interests me to create a more universal image in my photography through technology. Images that are very catchy but have been taken out of context so they can appeal universally,’ says the photographer, who chose to only make single editions of his Disgracers series. As the Gallery says, don’t go looking for hashtags to share, if you want to see them all, you’ll just have to go to Alice Gallery in Brussels. And you have until 6th of May to do that.

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Veerle Devos

Veerle Devos (aka VOS) is a historian who has been active in journalism for many years, working with DAMNº since 2005. She's co-founder of the Office for Urban Reporting, a research centre and production house that investigates and communicates about 21st-century urbanisation. In her free time she’s preparing a personal travel guide for Portugal.

About DAMN°

DAMN° is an independent publication with open-minded views on the interchangeable worlds of design, architecture and art. In making meaningful connections rather than dictating tastes, its approach to storytelling brings editorial content beyond hype or conventional academic debate. Unafraid to link the personal and the political, the economic and the emotional, the stylistic and the social, DAMN° is ultimately about discoveries that aim to provoke a reaction…whether it be a thought or a smile.